05 January 2018

Music of 2017

My favorite music of 2017 part one (1-5) Syd FIN Delia Gonzalez HORSE FOLLOWS DARKNESS Drab Majesty THE DEMONSTRATION Tomberlin AT WEDDINGS Samantha Urbani HINTS & IMPLICATIONS

My favorite music of 2017 part two (6-10) THE HOLY CIRCLE Sally Dige HOLDING ON REAL HIGH INJURY Power Trip NIGHTMARE LOGIC

08 November 2017

What did I watch for Halloween this year?

As you can see, I watched a lot so I've kept it short for the most part.

Ridiculous but fun. The bad guy masquerading as a priest is one of my favorite tropes!

Blade Runner (Final Cut)
I started watching it distractedly as I checked my social media and slowly got pulled into it entirely.

Scream Blacula Scream
In both films, Blacula fights dudes with his bare hands. Just throws them around like nothing. It was lots of fun.

Eve’s Bayou
I loved it! Great to see Samuel L. Jackson play suave too. Also the rare film where I cared about all the family members. One of the bets cast films that I’ve seen in awhile, too.

Sign O’ the Times
How do you make a movie out of one of the greatest records ever? You make it the most Prince in the ‘80s thing ever. Even more than Purple Rain if you can imagine that.

Did you think I was going to watch Silence of the Lambs? This was another one that I put on distractedly but then got drawn into.
I Am Not A Serial Killer
This was a cat and mouse thriller and it wasn’t bad. I’d rather it ended on a more ambiguous note even if the title is a bit of a mislead anyway.

The Eyes of My Mother
A horror film about intergenerational trauma.

Trouble Every Day
This is why your mama warns you about boys like Vincent Gallo!
Under The Shadow
A character study as much as a drama about a supernatural invader. It’s a very mysterious film.

This movie does not hold back on strange men being terrifying!

The Blackcoat’s Daughter
This was a very effective supernatural thriller especially its sureness of tone as you’ve got three threads going in it before they converge in it final menace. I highly recommend it

Vampire Hunter D: Bloodlust
This was not as gory or as terrifying as I’d expected. There’s a call out to Lifeforce that I appreciated. That really amused me.

Queen of the Damned
This was hardly on the level of a made-for-television movie let alone Interview With The Vampire. And there’s hardly any Aaliyah. She’s barely a major part of the plot - despite being the Queen of the fucking Dead of the motherfucking title. This was just dumb and not even fun at all.

The Void
There’s worse ways to rip off The Thing and The Beyond. At least it didn’t make it too boring!

The Fog
If you’ve worried about impending doom on the local level, this is the film for you! Carpenter captures the nocturnal atmosphere and explores the interpersonal dynamics quite well which is all you need to make it compelling. 

Professor Marston and the Wonder Women
I loved it. And I cried at the end. Oh, and before the end. And towards the end of the second act. It was very emotional for me!

The Leopard Man
The classic Val Lewton atmosphere that you’d know from Cat People or I Walked With A Zombie. That’s pretty much all you need to enjoy this one. Which isn’t about man-leopards at all.

The Undying Monster
This was really neat! I had expected maybe a bargain basement detective plot but instead the movie had some cool technique.

Interview With The Vampire
I really had to go back to this after Queen of the Damned. It still holds up. It’s definitely the adaptation that did justice to the book which is why I think Anne Rice hated it so much at first. 

Goodnight Mommy
Anyone who wants kids needs to watch this movie first! Something I loved was how sympathy is elicited for the mom as much as the kids. I still can’t tell who was really the evil one.

This won’t win any kudos for deconstructing the gaze but I needed something cute and pleasant as a distraction. Do you think the Pushing Daisies creative team loved this film?

Cat People (1982)
Schrader made the original’s subtext textual and added a layer of guilt over sexuality and temptation. And bondage. And furry incest, of course. And then he made Mishima! God, I have no clue about the ‘80s sometimes.

A Dark Song
It’s kinda like if Ben Wheatley had made The Babadook.

The Living Dead Girl
The passion of sisters is for death, said she. 

This is less like Trouble Every Day and more like Living Dead Girl meets Fat Girl. 

Blade Runner 2049
This wasn’t bad but it also wasn’t great. There was a lot where it could have been great but all the effort to be great comes across more strongly in the cinematography/mise-en-scene/set design. Which isn’t bad cos the original is so excellent is those areas but in this film every scene and space is treated in the exact same way. It feels very similar and nothing new is really shown beneath those spaces. And they’re beautiful spaces - that’s what I want in certain scifi films! - but they’re more impressive than the ostensible drama. They feel too distinct from each other is most cases - like two separate films. I really wanted the drama to feel more blended with it all. Which really stands out for the worse when Harrison Ford steps out in the last third of the film and is given nothing to do. You could remove him and it’d almost have been the same film except for the final fight of course. Which compared to the original was just nothing. It lacked all the tension and all the stakes. It just happened. A lot of the film just feels like a scene happens to get to the next part of the plot or to set up something later. A lot of it was missed opportunity, sorry. But I’m still glad I saw it.

Lorna the Exorcist
Actually a little sexy but still a Jess Franco so that means ridiculous sex with great atmosphere overall. There’s only one Lina Romay so there’s that. I’m just kinda amused how like Vampyros Lesbos you have a supernatural theme that Franco uses to create the atmosphere but parlays it into the sexiness.

Prince of Darkness
October isn’t complete until you’ve watched a Carpenter! So of course in 2017 the pick was from the apocalypse trilogy. I really liked this one for its gradual pace and less claustrophobic atmosphere. It’s very gothic which I hadn’t noticed before but I liked that too. It’s Carpenter at a more relaxed pace but still a favorite.

Little Sister
Just kinda cute but in contrast to Rachel Getting Married it was nice to watch a film about someone trying to help a family member for once.

Lips of Blood
I’m not a fan of the lead dude character but it’s still a good Jean Rollin film. His reunion with the mysterious woman is very touching and I have to say their plan to go to sea in a coffin together is quite romantic! Leave it to the French, I guess.

Not as much of a horror film as I’d hoped but it’s low-key indie film vibe was charming. It’s not as much about Medusa as it’s about the mystery of the sudden statues but it’s not a bad story either. Definitely something you’d watch on a Sunday afternoon. Or as a double bill with Lips of Blood!

This was the new restoration from Synapse - and it was glorious!

Blood and Black Lace
My favorite Bava film. Beautiful and scary and just a perfect example of Bava’s style.

09 January 2017

Music of 2016

Angel Olsen, My Woman

Kristin Kontrol, X-Communicate

Julianna Barwick, Will

Mitski, Puberty 2

Nite Jewel, Liquid Cool

Suede, Night Music

Blood Orange, Freetown Sound

Sub Rosa, For This We Fought The Battle of Ages

Tegan and Sara, Love You to Death

Mary Lattimore, Music Inspired by Philippe Garrel’s Le Révélateur

31 October 2016

Notes On October Viewing 2016

It’s like Ben Wheatley directed a season of Mad Men.
The Last Man On Earth
Vincent Price as a feared killer of men who in turn ends at the same fate. I think what I loved most was the understated presentation of this biological apocalypse. The empty streets, the clear and warm sunshine full of nothing, and the weary narration of a man unaware of just how doomed he is.
Panic In The Year Zero
Ray Milland throwing punches and grabbing guns like a drunk Trump supporter. All the paranoia on display - a film made in 1962 by the way - was all the more eerily disquieting as it looked like the same could happen today.
Penda’s Fen
What struck me was the intellectual and dramatic subtlety presented in how a young adult molded their identity. I loved how they addressed the mythic element in national identity as well. All in 1973 - almost unthinkable today.

Carnival of Souls
I was not expecting this to be such a knock out. First, Criterion’s presentation is excellent. Definitely one of the best restorations that I’ve seen. Second, the film was an incredibly haunting experience. The setting, the music, the acting - it all meshed so perfectly. This was the perfect Halloween movie.
Spider Baby
Lots of fun - Virginia and Elizabeth were especially amusing. Another perfect Halloween movie. Forever in my mind on a double bill with Texas Chain Saw Massacre. Or with Grey Gardens. 
I was surprised that it wasn’t entirely about kink but also as much about mental health. Self-harm, specifically. I appreciated how the movie handled those subjects sensitively enough. She’s really just trying to find peace.
There’s a social context to which the film alludes - the kids screaming at the cinema (a self-reflexive gesture, obviously) and the ongoing Tour - and then there’s the personal context to which the film is more directly involved. The woman and the killer representing two degrees of alienation - from family and from society - that somehow complement each other in the film’s outlook. A dysfunctional relationship being the best means of representing it, apparently. As a serial killer film, it’s rather pointless but leave it to the French to use any genre at hand to discuss terrible relationships. And poorly use Bauhaus cos why the hell not? Alan Vega’s unsettling piece was used effectively at least.
Tenderness of the Wolves
This movie on the other hand was a more straightforward take on the community delusion that keeps a psychopath in business. 
I had never seen this one before so I was a little concerned at how it would play after twenty years. I’ve seen plenty of Joss Whedon so why not give Kevin Williamson a try? I thought it was pretty good especially since I’d seen so much else in its wake. Plus it was nice to see Neve Campbell and Skeet Ulrich in something besides The Craft. My favorite scene was the big reveal in the kitchen. Craven really has a flair for shooting maximum drama in small spaces. See also The People Under The Stairs for that.
Scream 2
I didn’t find its self-ironic stance entirely interesting especially as it kept trying to stay a few steps ahead of itself but it was still pretty entertaining. Mostly thanks to the actors who really kept a good handle on it all. I think I liked it even more than Scream cos this one was so over the top. You haven’t lived til you’ve seen Laurie Metcalf menacing people with a handgun.
Having watched Scream really made me appreciate Carpenter’s original much more.
God Told Me To
Deliriously unhinged.
The Amityville Horror
The horror comedy classic. I thought Margot Kidder was great tho.

I Am The Pretty Thing That Lives In The House
A very slow burn with lots of stillness, natural sound, and restrained aesthetics. This is more a story about the house than the people in it. Which is an interesting idea but it sucks out a lot of the human interest. I think they could have done more with the premise but I do appreciate how they let the audience add it all up.
Dracula’s Daughter
You can’t escape your fate.
Community (Season Six)
My Mad Fat Diary (Season One)
Babylon 5 (Season Two)

11 October 2016

Persons of Orison: Going to Church with Julianna Barwick

I had the recent pleasure of seeing Julianna Barwick last week perform live in a church in Lexington. I had a taste of the experience in September when she opened for Angel Olsen but it was all too brief. This evening, however, everything was perfect. (It was a smaller audience but it was no less thrilling.) The church was the ideal space. Its ambience and acoustics made it feel like sitting within one of her earlier records. The very sparse lighting and the later hour contributed to that effect. The two opening acts Robert Beatty and Mary Lattimore were no slouches, either. The concert itself was soft but loud. Almost like being wrapped within "Offing" from Nepenthe for fifty minutes. I couldn't tell one piece from another through the sonic haze and I didn't care. Crafting the aura from her keyboard fully ablaze, Barwick seemed more concerned with sustaining the mood. I for one was content within that spell as my mind drifted along. It was sustained beautifully. It was the perfect immersion into her world. The audience filed out in what seemed like a very mellow mood. Much mellower than I've seen in audiences in many years. It was truly wonderful and it felt so, so great to finally see her live after so many years loving her music.

03 January 2016

Music of 2015

Kamasi Washington, The Epic
Quite ambitious at a length of three hours with a full band of twelve players. It can be a somewhat dense listen given the average song length – seven to twelve minutes being the norm – but it possesses a corresponding sum of energy and invention. Energy and invention is pretty much the MO for jazz but here’s it’s especially engaging.

Tamaryn, Cranekiss
It’s something like a kiss. Definitely the warmest album of the year – and the one that I listened to most often in 2015. Swooning and sighing with an androgynous joy that I all too rarely get to hear especially when delivered so lushly and so directly. Just an astounding evolution in Tamaryn’s sound.

Wax Idols, American Tragic
A good complement to the Tamaryn record. Similar textures but here with a much darker hue. Both albums are equally glossy which really just makes them insinuate their sounds into your mind more easily. The singing here is even better – more confidence, loads of swagger, it’s even more of the band that we love. A dark, vibrant sequence of songs always pushing you forward. A lot like the Grimes album, this one also deals in themes of not letting others hold one back. It’s really neat how a few albums I loved this year are similar in theme. You just can’t stop these people.

THEEsatisfaction, EarthEE
Hitting celestial heights that I hadn’t experienced since Grimes. Celestial heights in the manner of Babylon 5 rather than Star Wars, let me say. What I enjoyed most about the album was its perfect nocturnal quality. Driving everywhere – a la Night Drive by Chromatics – with this as soundtrack is even better as it provides so much food for thought. A very political work in that way which I appreciated. It’s a very mysterious but immensely inviting album. The singing really sells that quality there. If you have the exciting mission of counting all the stars, this is the music you want to hear. And they’re also really great live.

Grimes, Art Angels
A bright, weird, and joyous celebration of not letting others hold you back. It’s almost like New Year’s again with each listening. It’s the opposite of Visions in many ways but it has that album’s same strengths just with less darkness. All the black and green and purple on Visions is replaced with tons of yellow, white, pink, and blue. It’s the first day of summer to the late autumn midnight of Visions. Like Tamaryn and Wax Idols, it’s a very interesting evolution and as with those two just as exciting to hear.

La Luz, Weirdo Shrine
Absolutely haunting. Much like an empty beach in the early morning. I love how the guitars and vocals each have their own layer of reverb which really pushes that haunting quality. The guitar playing is also the most assured and fluid that I heard all year. It’s really amazing. The sense of space in how the record was mixed was also something else.

Screaming Females, Rose Mountain
One of the most affirming records that I heard all year. If Marissa Paternoster were a doctor or a chef, I’d be amongst the healthiest, happiest people alive. I wish more indie rock could work at this level.

Dilly Dally, Sore
Loud, strong, hoarse, and blunt like a hammer. I loved every moment of it. Lead song Desire tells you everything you want to know then leaves you begging for more. I really love the style of this album. I’d utterly love it if they toured with Screaming Females.

Shannon and the Clams, Gone Before The Dawn
I’ve loved their other albums, but the lyrical focus on this one as it tied each song together really made it stand out from the previous albums. I love a good break-up album and this one doesn’t disappoint at all. It’s not bitter as much as it’s tired and disappointed which is rather true to life which I think anyone can appreciate. Their style is more soulful than dour which also helped.

Beach House, Thank Your Lucky Stars
I know, I know: who needs another Beach House album? Or even two the same year. But I really liked this one more than Depression Cherry. Edgier guitar, more focused writing, and better structure overall.

28 October 2015

"I’m not nothing" - The Return of Wax Idols

Just a short review here as I'm really excited for this new album!

American Tragic by Wax Idols is the latest evolution in the band’s sound. And there’s so much to love here in the band's step forward: production, mixing, drumming, lyrics, song titles, even the sequencing is perfect. This is the Wax Idols experience at a new high. Shinier, more piercing, and even more engaging. An absolute gem of a pop record that’s high among the year’s best.

While the album looks short at nine songs, it’s a slow burn of a musical journey that explores the dreams and ambitions of being one’s own distinct self. As statements of intent, there are song titles bearing this out: "I’m Not Going", "Goodbye Baby", and "Severely Yours" which sounds like an especially acerbic (and delicious) closing to a break-up letter. So with this new album, Wax Idols is here to stay. Detractors can’t hold her back or make a dent in that resolve to make her own way. While Discipline + Desire was in parts a record of drowning, struggling, and persevering, American Tragic is what happens when you finally come to the shore and stagger forward. Coming to shore like Nancy in The Craft, let me add.
While "A Violent Transgression" starts it all off ominously like its predecessor but with a smoother malevolence, it isn’t until the next song "Lonely You" that the album's sonic change becomes apparent and announces the band’s evolution. It’s obvious why this is a single - with an equally stylish and memorable music video starring Wax Idols mastermind Hether Fortune! Endlessly listenable and incredibly catchy, it’s everything that one could love about Wax Idols. It’s a perfect song, but those haunted vocals higher in the mix really make it stand out in the band’s catalog a Wax Idols anthem. To remind us of how she got to shore is "I’m Not Going" which is a beautiful hymn to persevering. It’s in "Deborah" that we have the album’s highlight, however. The guitar and drums create some wonderful tension which the singing hardly alleviates - only to make it all explode in the choruses. Harder drums, cavernous guitar, and some sparse Cure-like synth, this exorcism in song is a knock out. I would take a guess that the Deborah in question is Deborah Curtis speaking to her late husband. Maybe I’m wrong on that interpretation – if not it’s about time someone broached the subject so hats off to Wax Idols – but regardless it’s a great song about moving past those who’ve hurt or betrayed us. "Goodbye Baby" coming off the heels of "Deborah" makes explicit the need to make a break with another person. Another great song it also features some especially expressive singing. What really becomes wonderfully obvious in the second half of American Tragic is the mixing. The vocals sound better than usual and reveal a wonderful swagger to the singing. The intense brooding of Discipline + Desire now reinforced with an infectious swagger is a combination that helps American Tragic (and Wax Idols) reach a new level aesthetically. "At Any Moment" – great solo and keys by the way – makes this especially clear. But to hear the difference compare Discipline + Desire closer "Stay In" to "Seraph". While the yearning and frustration that helps make "Stay In" such a perfect song are present, the vocals are curiously buried somewhat as if those emotions should haunt rather than confront. An aesthetic tactic that does work let me add, but in "Seraph" it all springs to life from the very beginning. And with a bit of Cult-like attitude in that opening guitar! All to great effect as the album closer is a powerful reclamation of one’s self and a perfect summation of American Tragic. I’m not nothing, indeed. May the ambitions of Wax Idols burn forever.

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